The apostles, said Origen “saw better than Plato … what things were to be committed to writing, and how this was to be done, and what was by no means to be written to the multitude, and what was to be expressed in words, and what was not to be so conveyed.” With this statement, Origen seemed to suggest that Christ’s secret teachings had things in common with Platonism. Platonism was linked to both the apocalypses and the mysteries. Martha Himmelfarb describes 2 Enoch’s creation description as “a blend of biblical creation and popular Platonism.” Of the apocalypses, John Turner says, “One can scarcely think of a more apt Jewish equivalent to Plato’s description of the intense light of the ultimate Goodness and Beauty awaiting anyone who would risk the ascent out of the cave of illusion.”
Plato’s allegory of the cave was itself related to the mysteries, argues Anne Mary Farrell. There was a cave near the Telesterion at Eleusis that Farrell argues that initiates would pass through. Plato made numerous references to the mysteries in his writings. The Phaedrus’s story of the pre-mortal chorus of the Gods, argues Farrell, was particularly overt. In this story, pre-mortal souls join the chorus of the Gods in viewing true reality beyond the outer reaches of the heavens.
Beauty it was ours to see in all its brightness in those days when with the happy and blessed chorus we behold with out own eyes that blessed vision…. We saw and were initiated into that which is rightly said to be most blessed of Mysteries. We celebrated the secret rites being complete and perfect and without suffering the evils that awaited us in time to come. Complete and onefold and still happy also were the apparitions which were revealed to us as initiates in pure light.
The path was circular and Plato adds the pre-mortal humans are allowed to view the sights because “jealousy must stand outside the divine chorus.” Thus pre-mortal humans underwent an initiation similar to Eleusis before they came to earth, and remembering what they learned there will help them ascend back to heaven.
Plato described the soul’s falling to earth as losing its wings and forgetting what it had learned in heaven. Yet seeing beauty on earth reminds us of the beauty we saw in heaven. The one who has forgotten what he or she learned “or who has become defiled” will seek to gratify his or her lust while “a recent initiate … one who has seen much in heaven—when he sees a godlike face or bodily form that has captured Beauty well, first he shudders and a fear come over him like those he felt at the earlier time,” or at the pre-mortal initiation, argues Farrell. Through this process the souls begins to regrow its wings. Plato’s dialogue on love, the Symposium, also alludes to Eleusis when it described the soul’s ascent, argues Farrell.
Therefore Platonism intertwined with the rituals that may have informed the secret tradition. Scott Brown argues that Clement’s higher teaching was fundamentally Platonic; Clement even referenced Plato’s chorus of the gods, saying that a soul “being not yet worthy of a sacred truth, but out of tune, disorderly, and hylic—it must ‘stand outside the divine chorus.’”
 Origen, Contra Celsus, 6.6.
 Martha Himmelfarb, Ascent to Heaven in Jewish and Christian Apocalypses (New York: Oxford, 1993), 86.
 John D. Turner, “To See the Light: A Gnostic Appropriation of Jewish Priestly Practice and Sapiential and Apocalyptic Visionary Lore,” in Mediators of the Divine: Horizons of Prophecy, Divination, Dreams, and Theurgy in Mediterranean Antiquity (Atlanta: Scholars, 1998), 110.
 Anne Mary Farrell, “Plato’s Use of Eleusinian Mystery Motifs,” (PhD Dissertation, University of Texas, 1999), 16-17, 96-97.
 Plato, Phaedrus, 250b-c.
 Plato, Phaedrus, 247a.
 Plato, Phaedrus 250e-251a; Farrell, “Plato’s Use of Eleusinian Mystery Motifs,” 79.
 Farrell, “Plato’s Use of Eleusinian Mystery Motifs,” ch. 3.
 Scott G. Brown, “Behind the Seven Veils, I: The Gnostic Life Setting of the Mystic Gospel of Mark,” in Ancient Gospel or Modern Forgery?: The Secret Gospel of Mark in Debate, ed. Tony Burke (Eugene, Oregon: Wipf and Stock, 2013), 247-83; Clement, Stromata, 5.4.